LADA

LADA Screens - Oozing Gloop

A film by Oozing Gloop made in 2017 using a selfie stick and a mobile phone.

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Large Glass, 392 Caledonian Road, London N1 1DN

Alice Channer: A Coin in Nine Hands - Part 5

'A Coin in Nine Hands - Part 5: Alice Channer (Carapaces)’ is a fascinating celebration of the elaborate figure of a shell. Inspired by Marguerite Yourcenar’s novel ‘A Coin in Nine Hands’ (1993), which recounts the journey of a ten lira coin through the hands of nine different people – a prostitute, an artist and Mussolini’s assassin – this exhibition is part of the gallery’s ambitious project of displaying the work of nine international artists in nine different solo shows over the coming months. Review by Fiorella Lanni

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Spanien 19C, Kalkværksvej 5A, 8000 Aarhus, Denmark

Mette Boel: Sunkissed

Trainers pair up with swimming pool noodles to create weird, often amusing pairings, as the noodles appear to be wearing shoes and claim the space for themselves. Posters look like tourist ads and then again not. Then there is the sand on the floor, which reminds us of relaxing days at the beach. Yet, here, the sand does not move; it has become like a carpet. Not a carpet to lie down upon, but something to investigate, to brush up against. Review by Rikke Hansen

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National Portrait Gallery, St. Martin's Pl, London WC2H 0HE

Tacita Dean: PORTRAIT

The glance, with its speed and lack of resolution, is probably the defining characteristic of contemporary vision. We see people with the same lack of depth, quickly skimming across their seemingly shallow surfaces. The experience of viewing Tacita Dean’s ‘PORTRAIT’ at the National Portrait Gallery, on the other hand, is more like the process of reading than the ways in which we usually contemplate visual art; the whole show seems to provide a slow, even still, contemplative corrective to the incessant pace of modern life. Review by Matthew Turner

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Alan Cristea Gallery, 43 Pall Mall, St. James's, London SW1Y 5JG

Christiane Baumgartner: Liquid Light

Light, so yielding it lies beyond our sense of touch, leaves its trace by an absence: expanses of white are produced by what has been cut away from the imprinting block. Review by Kevin Brazil

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Jerwood Visual Arts, Jerwood Space, 171 Union Street, Bankside, London SE1 0LN

Jerwood/FVU Awards 2018: Unintended Consequences

This year’s Jerwood/FVU Awards sees Maeve Brennan and Imran Perretta engage with the theme of ‘Unintended Consequences’ by considering, in very different ways, the complex nexus of vision, knowledge and representation. Review by Anya Smirnova

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Turf Projects, 46-47 Trinity Court, Whitgift Centre, Croydon CR0 1UQ

Bryony Gillard: A cap, like water, transparent, fluid yet with definite body

Calling you with rhythmic drums, panting and narration, the final room goes further to uncover the genesis of Bryony Gillard’s conflict within 'A cap, like water, transparent, fluid yet with definite body'. Review by Sophie Risner

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FOLD Gallery, 158 New Cavendish St, London W1W 6YW

Thomas Bang: States of discontinuity: New and recent work

Dominant in Thomas Bang’s exhibition of recent work at FOLD, where eight sculptures as upright as paintings are pinned to the walls, is a concern with how sculpture relates to its supports. In fixing all the works to the gallery walls he questions the distinction between those two most traditional of media: painting and sculpture. Review by Samuel Glanville

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kurimanzutto, Gobernador Rafael Rebollar 94, San Miguel Chapultepec I Secc, 11850 Ciudad de México, CDMX, Mexico

Sarah Lucas: DAME ZERO

Whilst firmly rooted in the irreverent humour of Britain, Sarah Lucas: DAME ZERO, currently on view at kurimanzutto, Mexico City, is able to securely locate itself within (as if emerging from) the context of Mexico. Review by Elliott Burns

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Exeter Phoenix, Gandy St, Exeter EX4 3LS

Young In Hong: The Moon’s Trick

In South Korean artist Young In Hong’s solo exhibition at the Exeter Phoenix, The Moon’s Trick, themes of censorship, authorship, and reinterpretation with a focus on Korea’s own cultural and historical struggle with similar issues are explored. Named after a Soo-Young Kim poem, Hong’s exhibition refers to the vortex created by a spinning top which poet Kim once watched and felt let him exist in a different sphere from our world and gave him a new level of perception. Review by James McColl

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Serpentine Sackler Gallery, West Carriage Drive, London W2 2AR

Sondra Perry: Typhoon coming on

‘Typhoon coming on’ is the first solo presentation of Sondra Perry’s work in Europe. For those unfamiliar with the artist, one may find themselves swimming against the purple ocean waves projected across the gallery walls in search of Sondra – in search of healing that feeling of uncertainty in an art gallery, amplified by the disorientating, dizzying, environment we’ve found ourselves trying to navigate. Review by Cairo Clarke

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Modern Art, 50-58 Vyner Street, London E2 9DQ

Eva Rothschild: Iceberg Hits

Rothschild's sculptures tantalise us with scripted hints while continually resisting meaning. Clues across titles make it tempting to consider the passion, rejection and sensuality of human relationships as much as how sculptures might relate to one another and to us. Review by Jillian Knipe

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The Power Plant, 231 Queens Quay W, Toronto, ON M5J 2G8, Canada

Kader Attia: The Field of Emotion

Amid the celebrations of Canada’s 150th birthday last year, there prevailed an anxiety surrounding its colonial origins, and the efforts to reconcile past and continuing mistreatment of its indigenous groups with its modern national identity. It’s within this context that French artist Kader Attia stages his first major exhibition in the country, Fields of Emotion at the Power Plant, Toronto. Presenting a series of works dealing with political and individual traumas, Attia traces a thread of genealogies and histories which offset sanitized narratives and explores the lingering impact of atrocities left unaddressed or disavowed. Review by Alec Kerr

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Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS

Langlands & Bell: Internet Giants: Masters of the Universe

Internet Giants: Masters of the Universe at Birmingham's Ikon Gallery is a timely mediation on how dominant technology behemoths, like Facebook, have completely reshaped our cultural and social landscape. Teasing out these complexities through new sculptural and digital works, artists Langlands & Bell question if the opulent mega campuses of Apple and Google will define our age. Review by Jack Welsh

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